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Jasper Sharp investigates the hype over “free” animation software. Last month, a press release went out under the heading ‘TOONZ goes Open Source!’ The revolutionary 2-D animation software, developed for the professional market by the Rome-based company Digital Video in 1993 and originally distributed by Softimage as Creative Toonz, has now been placed freely within the reach of the independent and the amateur filmmaker, and it was a Japanese company that had put it there.That company was Dwango, a “new media” specialist and video portal provider founded in 1997 which counts the Japanese video sharing site Nico Nico Douga and the games developer Spike Chunsoft among its interests. Dwango is part of the Kadokawa Dwango holding company, established in 2014 through a merger with the Kadokawa media conglomerate. It was a match made in heaven: the Kadokawa side of “content creation” coupled with Dwango’s clout in the field of online distribution.But it was a rather more familiar Japanese name that stole the story and caused such a stir within the animation community. Most of the news pieces that proliferated in the wake of the original announcement noted that it was the TOONZ Studio Ghibli Version that was being made available under its new name of OpenToonz.“With one announcement, the animation software game may have changed forever” wrote Amid Amidi in a report titled ‘Toonz Software Used by Studio Ghibli and ‘Futurama’ Being Made Free and Open Source’. Other pieces circulating via social media over the following days were even more breathless. In a piece for Wired, Matt Kamen claimed that “Animators aspiring to be the next Hayao Miyazaki are now one step closer to their dreams” while Becket Muffson concluded on The Creators Project website that “We expect an uptick in high quality Totoro tribute films and animations inspired by the semi-retired animation legend while young animators are still in a position to play around and hone their styles.” The implication seemed to be that anyone with a computer could now knock out works of the quality of Princess Mononoke in their bedrooms.But what exactly is TOONZ, and how has the software been used over the years by Ghibli? Since its international distribution deal with Disney in 1996, Ghibli has been regarded outside Japan as a force against the proliferation of completely 3D computer-generated features that have come to dominate the commercialmarket. But 3D animation and rendering techniques have regularly

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That lines them up according to the punch hole positions. The software then cleans up and converts these to a sequence of anti-aliased line artwork files. The final part of the process is the digital addition of colour using a palette typically specified by the colourist or art director.In other words, rather than providing a new way of doing animation, Arias sees TOONZ and similar packages as “a digital replacement for a previously analog photo-mechanical/optical process… a modern tool, perhaps as digital sound mixing consoles are compared to old analog desks.”The free availability of OpenToonz does offer one obvious major advantage in that previously it has been prohibitively expensive for all but the most major studios. Studio 4C, with whom Arias worked on The Animatrix, Mind Game and Tekkonkinkreet, found “there were cheaper alternatives that worked well enough for the scanning/cleanup/colouring part of the process”, although Arias acknowledges “TOONZ may well have been the best all-around solution for the task.”As he elaborates, when Ghibli first start using digital tools and techniques the “production environment was much more homogenous than it is now”, dominated by a couple monolithic packages like Softimage 3D (and later XSI) and Alias Animator (and subsequently Maya). It was “a much simpler landscape back in the 90’s, whereas now it is a big collection of specialised software tools (now everyone uses many packages and a lot of “glue” code to go-between).”One might therefore question the extent to which OpenToonz provides possibilities for the independent animator that weren’t there before. In this respect, it is worth zeroing in on the part of the original press release that states that while Dwango is “allowing the animators’ community to use a state of the art technology at no cost”, it will still be “offering to the industry commissioning, installation & configuration, training, support and customization services” (presumably not for free!) and will “also continue to develop and market a Toonz Premium version at a very competitive price for those companies willing to invest in the customization of Toonz for their projects.”As to the specifics of the Studio Ghibli Version, Arias can only speculate: “I’d guess these features are customisations local to Ghibli’s pipeline, presumably a dedicated palette format and maybe some improved scanning/cleanup features.” In any measure, TOONZ has been just one of a number of software packages used by the studio, and to what extent it alone contributed to

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Where to Watch Bubble BipThe Making of a Superhero2015-06-01Nil dreams about becoming a superhero. Bip wants to make his friend's dream come true and trains him hard until they get it.The Invasion of the Clamshells2015-06-01Warning: clamshells around everywhere in the park! Not that they're dangerous, but Bip and Nil are afraid of Lena's temperamental reactions, so they try their best to put all the sea monsters back in the video game.2015-06-01Despite of Bip's advices, Mia feels pity for a cute sea urchin from the video game and decides to take him as a pet. Soon the park is taken by a plague of these little creatures, and seems like impossible to reach the console and ask Bip for some help.Hunting For The Tooth Monster2015-01-01Nil shares with Bip his idea of the Tooth Fairy being a monster that collects kids2015-01-01Marc has the new toy bubble gun and Bip decides to challenge him and decide who is the real bubble king of the park.One To School, The Other To The Videogame2015-01-01Bip and Nil are tired of their routine, and decide to switch bubbling monsters and homework. However, soon things won2015-06-01Bip believes the fish class pet is an invader from the videogame realm and, while the kids try to pamper and care for her, our superhero tries to neutralize it not holding any of his wacky means.Bubble Bip is a series categorized as a returning series. Spanning 2 seasons with a total of 59 episodes, the show debuted on 2015. The series has earned a no reviews from both critics and viewers. The IMDb score stands at undefined.How to Watch Bubble BipHow can I watch Bubble Bip online? Bubble Bip is available on Planeta Junior, TV3, Televisión Española (TVE), Toonz Media Group, Triacom Audiovisual with seasons and full episodes. You can also watch Bubble Bip on demand at Amazon Prime, Amazon online.ChannelPlaneta Junior, TV3, Televisión Española (TVE), Toonz Media Group, Triacom AudiovisualCastMARC GOMEZ, CHRISTINA JOPLING. Enjoy Chiki Toonz’s latest songs and explore the Chiki Toonz’s new music albums. If you want to download Chiki Toonz songs MP3, use the Boomplay App to download the Chiki Toonz songs Listen to Toonz EMK latest songs and albums online, download Toonz EMK songs MP3 for free, watch Toonz EMK hottest music videos and interviews and learn about Toonz EMK biography

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Discuss types:Raster Level (blue) - the "regular" raster level is the type that most drawing programs like Photoshop use. All imported graphics will be in this format, and you can draw in it regularly in OpenToonz as well, but it is not the most practical for animation. It is the most feature rich for actual painting, while others are poorer in that regard.Toonz Levels - Both the Toonz raster level and the Toonz vector level have a few common animation friendly features. They differentiates between lines and fills so you can have onion skin show only lines or delete only lines (changed in preferences under the onion skin tab), or fills with the eraser or bucket tool. Also, if a color is changed, all the lines that were drawn with that color will change EVERYWHERE they were drawn, so you can define a palette immediately and adjust it later if needed.Toonz Raster Level (green) acts a lot like the Raster level but with the added Toonz level functionality. It does prevent you from using painterly brushes, unlike the regular raster level.Toonz Vector Level (yellow) uses math and vectors for showing graphics, like flash/adobe animate or illustrator do, and is impractical for quick sketches and is best suited for polish and final graphics since it can scale without loss of quality, has no size limit, and enables easier inbetweening. I will mainly skip anything related to this level since it will get a separate tutorial of it's own soon because it is loaded with exceptions.Scan Level (blue) is... I assume the level type that gets automatically selected if you decide to scan traditional images into OpenToonz directly, but I have never done so, and it does nothing useful if you select it from here. I assume it functions like the raster level otherwise.The type of level you want to use depends on need and preference, but I found the Toonz Raster level to be a good balance between the other two, hence why I had people set up their default new level type to it at the start of the first

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SeasonsYears1Two Friends Corndog and Ketchup Make there way to a safe zone during somewhat of an apocalypse.After Chip becomes an alcoholic Penny and Clive must fend for themselves and be more independent.As cherry questions her height she finds a magician who can make her taller. Little did she know little things lead to big problemsMultiple toonz are kidnapped and forced to play a series of in regular games for a chance so win billions of dollars. Sadly this game comes with a twistAfter the unknown monster arrives in The Office Universe it causes nothing but chaos only to bring upon another apocalypse.French Fry and his two friends Mustard and Nugget venture to a cave to retrieve the answer to everythingChip is in charge of guarding the Christmas Star and Fry uncovers the truth about the crystal.A crackhead from another universe gets pulled into Toonz and struggles to find his way. Chip must learn to use his powers for good.While stranded on a teal planet Clive runs into trouble with a creature called a Kyak.As people start getting murdered in ShadySide ex Cheif of Police Clay Bottle finds his way into the scene with a motive to avenge his brother and catch this killer.An old foe arrives in ShadySide with a team of villains. Cherry helps Chip reconnect with his powers while Clive bonds with the baby Kyak.Contribute to this pageSuggest an edit or add missing contentWhat is the English language plot outline for Toonz (2021)?AnswerAdd episodeMore from this titleMore to

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Both within and outside of Japan, with Arias continuing to maintain and improve it until quite recently. Shinji Aramaki’s Appleseed (2004) provides a notable instance of the renderers being used for character animation, the Toon-Shaders applied to motion-captured wireframe models to lend them the traditional cel-style anime look.Incidentally, subsequent to the initial patents for Toon Shaders being filed by Arias and Microsoft, and then Softimage’s owner, a number of competing vendors released software products that employed various different means to achieve a similar effect, and “Toon rendering” has become a generic term rather than explicitly referring to this original software.By contrast, TOONZ was developed to streamline the production process of hand-drawn animation and is much more generic in its application. Given his proximity to the production of Princess Mononoke, also the production for which this 2D package was first adopted, I asked Arias for some insight into how it was used by the studio and what we should expect from the new availability of the Studio Ghibli Version of TOONZ.It is no great revelation to say that computers have featured prominently in the production process of commercial animation since long before the TOONZ software was first used for the production of Balto (1995) by Steven Spielberg’s Amblimation studio (it was subsequently employed on Fox Animation Studios’ Anastasia, released in 1997). Even in the most traditional-looking productions, computers play a vital role in the processes of compositing, colouring and cleaning up the hand-drawn layers of the finished images, even when the original sources are purely hand-drawn.As Arias explains, “Nowadays all (or very nearly all) ‘traditional’ animation ends up being finished digitally — though the initial drawings may still originate on pencil and paper as they are in most Japanese anime studios, this artwork is ultimately scanned and then cleaned up (‘inked’) and coloured (‘painted’) in software.”In the pre-digital age, pencil artwork would be transferred to acetate cels and colour would be applied by brush to the backs of these. The completed individual cels would be photographed frame-by-frame onto film using a rostrum camera.The key strength of TOONZ, according to Arias, is that it “streamlines the path from scanning to final output, and brings with it ease of adjustment and various quality enhancements that come with a digital workflow and user interface.” The process begins with in-between pencil line drawings on punched animation paper, which are scanned using a dedicated scanning rig. Enjoy Chiki Toonz’s latest songs and explore the Chiki Toonz’s new music albums. If you want to download Chiki Toonz songs MP3, use the Boomplay App to download the Chiki Toonz songs